Steve Bizenov

MARTIN GROVE'S HOLLYWOOD REPORT FOR 9/15/24: The JUICE was still on the loose and moviegoers saw NO EVIL this weekend.   Between them, WB/Plan B Entertainment's PG-13 fantasy horror comedy BEETLEJUICE BEETLEJUICE and Universal/Blumhouse Productions' R rated horror thriller SPEAK NO EVIL pumped over $63M in ticket sales into theatres plus millions more for pricey popcorn, candy, etc.   This weekend's domestic marketplace totaled $94.8M, per Comscore Senior Media Analyst Paul Dergarabedian, down 37.1% from the prior weekend, but up 50% vs. this time last year. Comscore's year to date tally has 2024 at $6.08B, down 12% from $6.94B in 2023. The previous weekend, 2024 was down 13% vs. 2023.   Meanwhile, back at the multiplexes: BB, directed by Tim Burton, held on to #1 in weekend two with $51.6M (-54%) at 4,575 theatres ($11,279), per Comscore. It reportedly cost $100M to produce and has grossed $188M domestic and $264.3M worldwide to date.    SPEAK NO EVIL opened #2 to $11.5M at 3,375 theatres ($3,407), per Comscore. That's better than the $10M Hollywood buzz-ards were originally looking for. Having reportedly cost just $15M to produce, Universal & Blumhouse should be okay. It opened internationally to $9.3M, bringing its worldwide cume to $20.8M.   EVIL, starring James McAvoy, is tracking best for first choice with women over 25 (one point over norm). Rotten Tomatoes critics & audiences are both very happy at 85%, which should mean good word of mouth.   The weekend's only other wide launch, Lionsgate's R rated action comedy thriller THE KILLER'S GAME, starring Dave Bautista, was dead on arrival in sixth place with $2.6M at 2,623 theatres ($991). It's tracking for first choice below norm with all demos. Rotten Tomatoes critics hate it at 36% and audiences aren't excited at 77%.   Although GAME reportedly cost $25-30M, the buzz is that Lionsgate's customary upfront financial strategizing reduced its risk significantly.   Next weekend (9/20) ticket sales should heat up with Paramount/Hasbro Entertainment's PG rated animated action adventure TRANSFORMERS ONE. It's the franchise's first animated episode in nearly 40 years. Hollywood insiders expect $45-55M at about 3,700  theatres.     TO is tracking best for first choice with under-25 men (five points over norm) and next best with men over 25 (three points over norm). Rotten Tomatoes critics are applauding at 90%.   Sat., 9/21 will see SUPER/MAN: THE CHRISTOPHER REEVE STORY open in limited release via Fathom Events/DC Studios. It's the story of Reeve's rise to stardom and the near-fatal 1995 horse-riding accident that left him paralyzed from the neck down. Rotten Tomatoes critics are cheering at 100%.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #beetlejuice #speaknoevil      

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Anyone who has ever set foot on the historic Paramount Pictures lot, must be disturbed by William Cohan 's reporting in Puck about Sony and Apollo Global Management, Inc. teaming up to buy the studio's parent company, Paramount Global (formerly Viacom). Gone will be hundreds of jobs in "marketing, distribution, business affairs, digital programming, etcetera. That might generate $3 billion in savings. " If that isn't bad enough.... the " extraordinary Paramount lot, near Hancock Park, would get sold for as much as another $1 billion." Is there a more iconic image of Hollywood and movie magic than the Paramount gate? (see below) Cohan also reports that "Paramount’s films would go to Sony Pictures, and any projects in production, on the shelf, or that need a turnaround, would also go to Sony." The consolidation of media continues to be troubling. Apollo's hand in the Gannett | USA TODAY NETWORK merger hasn't been a home run for journalists or consumers. As for Sony, government regulations prohibit foreign companies from owning TV networks & stations so what would that mean for CBS. So Apollo likely would fold CBS with its majority stake in the Cox stations. But that will likely exceed the limit the government permits any one company to own. So some stations may be sold. Does any of this sound good for journalism? Consumers? The entertainment business? Probably not, but read Bill Cohan 's work because it is good for shareholders of Paramount. There is an alternative that might not be great for shareholders but has proven pros like Jeff Zucker ready to right the Paramount ship. https://lnkd.in/eNTVaNYs

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MARTIN GROVE'S FILM FLASHBACK: STAR WARS EPISODE 1 - THE PHANTOM MENACE - 25TH ANNIVERSARY REISSUE OPENS 5/3/2024 -- If you saw STAR WARS in 1977, you likely were jolted a bit 22 years later when it suddenly became the series' fourth episode. That renumbering came when George Lucas answered fans' calls for more STAR WARS movies. Instead of new sequels, he gave them a prequel trilogy -- starting with STAR WARS: EPISODE I – THE PHANTOM MENACE, which opened May 19, 1999 via 20th Century-Fox and, most recently, had a 25th anniversary reissue May 3, 2024. Written & directed by Lucas, MENACE's stars include Liam Neeson, Ewan McGregor & Natalie Portman. Its story precedes the original trilogy by 32 years. Lucas had realized while writing STAR WARS that he had far more story material than would fit into one movie. After his first episode became a global boxoffice phenomenon with $775.4M in ticket sales, Lucas moved forward with two sequels that he didn't want to direct. THE EMPIRE STRIKES BACK (1980), directed by Irvin Kirschner & written by Leigh Brackett and Lawrence Kasdan, did $538.4M globally. RETURN OF THE JEDI (1983), directed by Richard Marquand & written by Lawrence Kasdan and Lucas, did $475.1M globally. For the next 22 years, that was the entire STAR WARS movie universe. By the 1990s, advances in computer generated imagery (CGI) caught Lucas's attention because now visual effects were possible that he couldn't do for  the earlier episodes. It also helped that Lucas could now spend whatever it took to achieve his vision on screen. His first three episodes' budgets reportedly were $11M, $18M and $32.5M while reports put MENACE's budget at $115M. News of the prequels surfaced in October 1993 as Lucas was writing MENACE. Years earlier he'd developed enough backstories to make prequels work, which accelerated his writing. Lucas hadn't wanted to write or direct the prequels, but he wasn't able to bring others on board. He asked Kasdan to return to write MENACE, but Kasdan said Lucas, himself, should now resume full creative control of his STAR WARS films. Lucas reportedly also failed to get Frank Darabont (THE SHAWSHANK REDEMPTION) to write the script or to hire Carrie Fisher as the project's  script doctor. Lucas also went after directors, including Ron Howard, who recalled  in November 2015 that he, Robert Zemeckis & Steven Spielberg were all offered to direct MENACE. They all told Lucas he should do it, himself. Fortunately for Lucas, he took their good advice. MENACE grossed $1.03B worldwide. STAR WARS: EPISODE II - ATTACK OF THE CLONES (2002), which Lucas directed & co-wrote (with Jonathan Hales), grossed $653.8M globally. And STAR WARS: EPISODE III - REVENGE OF THE SITH (2005), which Lucas directed & wrote, did $868.4M worldwide. #movies #martingrove #starwars  

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 6/9/24: BAD put exhibitors in a good mood with a turbo-charged $56M launch that left theatrical naysayers in the dust.   Hollywood handicappers originally buzzed that the R rated Sony/Jerry Bruckheimer Films' BAD BOYS: RIDE OR DIE would drive off with $40-50M and then upped it to $45-50M -- and mid-weekend went to $53M! Sony lowballed expectations with a $30M estimate.   Driven by BAD, the weekend marketplace totaled $103.5M, per Comscore, up 54% from the prior weekend and down 38% vs. this time last year. Comscore's year to date tally has 2024 at $2.83B, down 26% from $3.81B in 2023. Last weekend, 2024 was down 24% vs. 2023.   BAD hammers home that people haven't stopped moviegoing. When  there's something playing they want to see, they show up -- despite high ticket costs, oversized concession prices and inflated related costs like transport, babysitters and dinners out.   This bummer summer reflects the retreads, prequels and worn out IP Hollywood tried to get away with. The coming summer weeks should sizzle with Disney/Pixar's INSIDE OUT 2 (6/14), Universal/Illumination Entertainment's DESPICABLE ME 4 (7/3) and Disney/Marvel's DEADPOOL & WOLVERINE (7/26).   Meanwhile, back at the multiplexes: BAD, which reportedly cost $100M to produce, opened to a wildly overperforming $56M at 3,885 theatres ($14,414). Internationally, per Comscore Senior Media Analyst Paul Dergarabedian, it debuted to "$48.6M for a global opening of $104.6M."   BAD's tracking for first choice is best with men over 25 (16 points over norm) and next best with under-25 men (15 points over norm). Women over 25 are 11 points over norm and women under 25 are five points over norm. Critics on Rotten Tomatoes are a blah 64%, but audiences are cheering at 97%.   WB/NL's PG-13 horror thriller THE WATCHERS opened #4 to $7M at 3,351 theatres ($2,089). It's the feature directorial debut for Ishana Night Shyamalan, daughter of M. Night Shyamalan, whose thriller TRAP, starring his daughter Saleka Shyamalan, opens 8/9 via WB. WATCHERS' first choice tracking is below norm for all demos. RT critics hate it at 29% and audiences are a scary 52%. WATCHERS did $4.7M internationally for a global cume of $11.7M.   Sony/Alcon Entertainment's PG animated family appeal THE GARFIELD MOVIE was #2 in weekend three with $10M (-29%) at 3,959 theatres ($2,526). It reportedly cost just $60M and has done $68.6M domestic and $192.7M worldwide.   As for next weekend: Disney/Pixar's PG animated "INSIDE OUT 2" is opening at about 4,200 theatres. Some pundits see an $85-95M debut. It's tracking best for first choice with women under 25 (20 points above norm) and next best with over-25 women (eight points over norm).   Roadside Attractions' R rated historical drama "FIREBRAND" is opening in limited release. RT critics are executing it at 52%.   #movies #boxoffice #martingrove #badboys    

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 5/12/24: APES climbed atop the boxoffice chart with $56.5M, giving exhibitors new hope after a grim winter and spring.   While KINGDOM OF THE PLANET OF THE APES' opening doesn't come close to 2014's DAWN OF THE PLANET OF THE APES, which kicked off to $72.6M and did $710.6M worldwide, times have changed and those good old days may be gone forever. Nonetheless, KINGDOM's launch is in the ballpark compared to 2011's RISE OF THE PLANET OF THE APES ($54.8M) and 2017's WAR FOR THE PLANET OF THE APES ($56.3M).   Driven by KINGDOM, the overall marketplace, per Comscore Senior Media Analyst Paul Dergarabedian, totaled $94.4M, up 26.4% from the prior weekend, but down 9% vs. this time last year. Comscore's year to date tally has 2024 at $2.29B, down 22% from $2.93B in 2023. Last weekend 2024 was down 21% vs. 2023.   Meanwhile, back at the multiplexes: Disney/20th Century's PG-13 sci-fi action adventure KINGDOM earned its $56.5M at 4,075 theatres ($13,865). Internationally, it opened to $72.5M, per Comscore, bringing its worldwide total to $129M.   KINGDOM reportedly cost $160M to produce -- but that money's all on the screen as there aren't any $20M stars in the movie! Hollywood handicappers were bullish on KINGDOM from the start with $50-60M estimates.   Going into this weekend, KINGDOM was tracking best for first choice with men over 25 (10 points over norm) and next best with men under 25 (six points over norm). Women under 25 were okay with five points over norm. Women over 25 were the least likely to be going with three points over norm. Rotten Tomatoes critics are happy at 81% while audiences are just okay at 78%.   Universal/87 North's PG-13 action dramedy THE FALL GUY, directed by David Leitch (JOHN WICK) and starring Ryan Gosling & Emily Blunt, fell to second place in weekend two with $13.7M (-51%) at 4,008 theatres ($3,418). It's done $49.7M domestic and $103.7M worldwide. FALL  reportedly cost $130M after Australia tax credits.   MGM/Amazon's CHALLENGERS held on to third place in weekend three with $4.7M (-38%) at 2,609 theatres ($1,795). It reportedly cost $55M to produce and has done $38.1M domestic and $68.7M worldwide.   As for next weekend's wide releases: Paramount/Maximum Effort's PG rated family dramedy "IF," directed by John Krasinski and starring Ryan Reynolds, should keep the boxoffice sizzling. Media pundits expect $45-55M at about 3,900 theatres.   It's tracking best and equally well for first choice with women under & over 25 (each nine points over norm) and next best with men under 25 (six points over norm). Men over 25 are the least excited (two points over norm).   Lionsgate's R rated horror thriller "THE STRANGERS: CHAPTER 1," opening at about 2,800 theatres, is tracking best with men under & over 25, but just equal to norm. It's below norm with men & women under 25. Some more exuberant analysts see it opening to $15-20M.   #movies #boxoffice #martingrove #kingdom            

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A kinda funny article as their stock price is always being manipulated and meaningless especially that if you look at their major shareholders it is obvious that Universal. the biggest record company in the world., intends to go private in 2026 with Bill Akeman, Tencent, Vivendi, Vincent Bolore and a future shareholder, I will not name, have planned to go private along. Remember that under their new structure 50% of earnings must be distributed annually via dividends hence why they partner with companies like Reservoir to purchase assets [which they double dip on by holding the distribution rights.] Bill and Vincent are brilliant billionaires and once Grainge retires the 'new partner' will make an offer to all other shareholders so don't be surprised to see the stock keep going down so UMG can do more stock buybacks diluting 'the sheep'. PS - They know a lot about Superfans and how to exploit such plus if you look closely their merch business has increased by close to 40% PS 2 - They are also diversifying into the ,ive business like Sony. The latter is buying live venues every month across the world.

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 11/17/24: RED ONE didn't deliver enough green ones to help cure the boxoffice pandemic that began with JOKER 2 in October.   This weekend's only wide studio launch, Amazon/MGM Studios' PG-13 action adventure comedy RED ONE, opened #1 to $34.1M, per Comscore, at 4,032 theatres ($8,451). Produced reportedly for $250M, it was directed by Jake Kasdan (JUMANJI: THE NEXT LEVEL) and stars Dwayne Johnson & Chris Evans. Its debut beats the $30M Hollywood handicappers were projecting Saturday, but it's still nothing for exhibs to feel good about.   Although ONE is a theatrical dud, it will likely work much better for Amazon as a streaming title with The Rock as a superstar magnet for subscriber eyes. ONE can live on for years as a Prime holiday classic -- whether it is or isn't -- for seasonal viewing as streamers doze on couches globally.   Internationally, ONE is being released by Warner Bros. and has done $50M since opening last week to avoid going head to head this weekend with Paramount's Ridley Scott heavyweight GLADIATOR II -- which ki ked off to $87M overseas.   ONE is tracking best for first choice with men over 25 (six points over norm) and next best with women over 25 (three points over norm). Rotten Tomatoes critics hate it at 33%, but audiences are happy at 89%.   While ONE's modest debut can’t be putting smiles on exhibitors' faces, at least they've got bodies in seats eating popcorn and other concession treats. Exhibs have to hold on until 11/22, when Universal/Marc Platt Productions' WICKED opens to what Hollywood buzzards say will be $80M or more. It's tracking best for first choice with under 25 women (13 points over norm). No scores yet on Rotten Tomatoes.   Exhibs' other big hope 11/22 is Paramount/Scott Free Productions' GLADIATOR II. Insiders expect $65M or more. It's tracking best for first choice with men over 25 (16 points over norm). Rotten Tomatoes critics are an okay 75%.   This weekend's domestic marketplace totaled $73.6M, per Comscore Senior Media Analyst Paul Dergarabedian, up 2% from the prior weekend and down 37% vs. this time last year. Comscore's year to date tally has 2024 at $7.08B, down 11.1% from $7.97B in 2023. The previous weekend in 2024 was down 11.4% vs. 2023.   Meanwhile, back at the multiplexes: Sony/Marvel's VENOM: THE LAST DANCE was #2 in weekend four with $7.4M (-54%) at 3,421 theatres ($2,150). It reportedly cost $120M to produce and has done $127.6M domestic.   Lionsgate/Comworld Productions' faith-based THE BEST CHRISTMAS PAGEANT EVER was #3 with $5.4M (-50%) at 3,020 theatres ($1,150). It's done $20M domestic.   Next weekend (11/22): WICKED + GLADIATOR II (see above) should pump a lifesaving $145M or more into domestic theatres.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #redone                

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Stay tuned

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Paying out an additional £6 million (approx. USD $7.7 million) in royalties from online services - “UK-based royalty collection society PRS for Music says it will be paying out an additional GBP £6 million (approx. USD $7.7 million) in royalties from online services to songwriters and composers annually, thanks to a reduction in its administration rate. The collection society said it’s reducing its admin rate on multi-territory online (MTOL) royalties by 20% – from a 10% rate to an 8% rate – as a result of the CMO “surpassing its targets, delivering historic distributions and revenues, and becoming a billion-pound society.” Announced at its 2024 Annual General Meeting (AGM) today (June 4), PRS estimates the reduction will see £1.5 million more paid out to members in each of its quarterly royalty distributions starting from October this year.” #PRS #CMOs #UK #MusicRoyaties #Songwriters #Composers #MusicPublishing #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz

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Here is a short cinematic sequence shot with my new sony fx3 cinema camera

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 7/28/24: The analysts who said the movie business is dead, the pundits who claimed exhibition is doomed and the haters hurrying to bury Marvel and its superheroes can't be very happy today.   With DEADPOOL & WOLVERINE opening to $205M, per Comscore, there's no question that this summer's boxoffice recovery is real, that exhibitors are still in the game and that Marvel has a new lease on life. D&W director Shawn Levy (FREE GUY), Ryan Reynolds & Hugh Jackman made a movie people can't wait to see. Amazingly, that $205M gross is for an R rated film!   Hollywood buzz-ards were warning last week that D&W could arrive to $160-175M rather than the $200M that earlier projections indicated. But as we've seen all summer, it's no longer safe to predict big openings from advance ticket sales.   A great thing about moviegoing is that unlike stage plays and concert events, you can make a last minute decision to see a movie and walk up to the boxoffice and get tickets. Very wide releases and multiplexes with multiple auditoriums but not enough movies to play, make it likely that last-minute arrivals won't be turned away.    Driven by D&W, this weekend's domestic marketplace totaled $277.6M, per Comscore Senior Media Analyst Paul Dergarabedian, up 84.6% from the prior weekend and up 28% vs. this time last year. Comscore's year to date tally has 2024 at $4.69B, down 17% from $5.65B in 2023. The previous weekend, 2024 was also down 17% vs. 2023.   Meanwhile, back at the multiplexes: D&W's launch to $205M was at 4,210 theatres ($48,694). Internationally it's done $233.3M, per Comscore, for a worldwide cume of $438.3M. D&W reportedly cost $200M to produce and  should be very profitable.   D&W is tracking best for first choice with men over 25 (32 points over norm) and next best with men under 25 (27 points over norm). Rotten Tomatoes critics are okay at 79%, but audiences are wildly happy at 97%.   Universal/WB/Amblin Entertainment's PG-13 action adventure thriller "TWISTERS" was the weekend's #2 film with $35.3M (-57%) in weekend two via Universal at 4,170 theatres ($8,465). TWISTERS, which reportedly cost $155M to produce, has done $154.9M domestic and $63.3M internationally via WB for a worldwide cume of $221.3M.   As for next weekend: D&W will be #1 again. WB's PG-13 horror mystery TRAP, directed by M. Night Shayamalan, is opening at about 3,200 theatres. TRAP's tracking below norm for first choice with all demos. Hollywood handicappers expect a $20-25M opening.   Sony/Davis Entertainment's PG animated comedy adventure HAROLD AND THE PURPLE CRAYON is opening at about 3,000 theatres. HAROLD is tracking below norm for first choice with all demos. Analysts see a $10-15M opening.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #deadpool #wolverine #ryanreynolds #hughjackman

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Tip of the Week: Control the things you can, find someone else for the things you can't. It is not uncommon in the film industry to find producers who want to control everything, every tiny little detail... In common jobs this is called micro managing. The film industry is a collaborative industry, it has to be with the amount of jobs on a film set. the problem is too many people think that is where it stays, you should be collaborating at every stage not just filming. Find people who can do the things you cannot and let them do their thing.

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 9/22/24: TRANSFORMERS ONE transformed into TRANSFORMERS #2, losing its very close race with BEETLEJUICE.   Between them, the two films did $51M, making exhibitors the weekend's real winner, especially when you include what moviegoers likely spent on snacks.     After an encouraging $3.4M from Wednesday's fan shows & Thursday's previews, Hollywood handicappers saw Paramount/Hasbro Entertainment's PG animated action adventure TRANSFORMERS ONE opening to a sizzling $35-40M. Instead, it did a fizzling $25M with post-mortem explanations that it's a PG family film not a PG-13 fanboy event.   ONE was tracking best for first choice with over-25 men (four points over norm) and next best with men under 25 (just one point over norm). Women over 25 were only equal to norm. And under 25 women didn't care at all (four points under norm). That's not a winning combination of demos! Rotten Tomatoes critics, however, are happy at 89% and audiences love it at 98%, which should mean great word of mouth.   Fortunately for exhibs, WB/Plan B Entertainment's PG-13 fantasy horror comedy BEETLEJUICE BEETLEJUICE showed holdover strength in  weekend three to finish #1 with $26M, off just 49%, per Comscore.   This weekend's domestic marketplace totaled $82M, per Comscore Senior Media Analyst Paul Dergarabedian, down 16.1% from the prior weekend, but up 51% vs. this time last year. Comscore's year to date tally has 2024 at $6.19B, down 12% from $7.03B in 2023. The previous weekend, 2024 was down also 12% vs. 2023.   Meanwhile, back at the multiplexes: B2's $26M was from 4,172 theatres ($6,232), per Comscore. It reportedly cost $100M to produce and has grossed $226.8M domestic and $329.7M worldwide to date.   TRANSFORMERS ONE's $25M was from 3,978 theatres ($6,285), per Comscore. Produced reportedly for just $75M, it's also done $14M in international theatres for a worldwide cume of $39M.    Universal/Blumhouse Productions' R rated horror thriller SPEAK NO EVIL was a solid #3 in weekend two with $5.9M, down only 48%, at 3,375 theatres ($1,748). It reportedly cost just $15M to produce and has grossed $21.5M domestic and $42.4M worldwide.   Next weekend (9/27) should see lots of available multiplex parking thanks to Lionsgate/American Zoetrope's launch of writer/director Francis Ford Coppola R rated sci-fi drama MEGALOPOLIS. Hollywood BUZZ-ards expect it to do just $5M at about 1,550 theatres. It's tracking below norm for first choice with all demos. Rotten Tomatoes critics hate it at 51%.   Universal/Dreamworks Animation's PG rated sci-fi adventure THE WILD ROBOT, opening at about 3,700 theatres, is tracking below norm for first choice with all demos. Rotten Tomatoes critics are cheering wildly at 100%. ROBOT should give TRANSFORMER ONE's not-so-wild robots some animated competition for family audiences.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove #transformers                

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MARTIN GROVE'S HOLLYWOOD REPORT FOR 9/1/24: Hollywood's fear of trying made Labor Day just another throwaway weekend.   At one point, Sony was going to give an 8/30 launch to its R rated Marvel epic KRAVEN THE HUNTER, starring Russell Crowe & Aaron Taylor-Johnson. Originally, KRAVEN was to arrive 1/13/23, but with the post-pandemic movie business still very soft, it was bumped to 10/6/23. Then it was advanced almost a year to 8/30/24 thanks to the SAG-AFTRA & WGA strikes the studios let drag on. Finally, Sony turned KRAVEN into a holiday season release for 12/13, where it's competition incudes WB/New Line's animated THE LORD OF THE RINGS: THE WAR OF THE ROHIRRIM.   Fortunately for exhibitors, BEETLEJUICE BEETLEJUICE is now just around the corner. WB/Plan B Entertainment's PG-13 fantasy horror comedy BEETLEJUICE BEETLEJUICE, directed by Tim Burton, opens next weekend (9/6) at about 4,000 theatres.   Hollywood buzz-ards are squawking about an $85M or more opening, which should get the fall season off to a sizzling start by today's standards. It's tracking best for first choice with over-25 women (28 points over norm).   As for this weekend, the only wide major studio launch, Sony/Blumhouse Productions' R rated sci-fi horror mystery AFRAID, is the family fantasy AI assistant thriller. It immediately brings to mind Universal/ Blumhouse's much more commercial M3GAN, which cost $12M to produce and did $180.1M worldwide in 2023. A sequel, M3GAN 2.2, is opening next 6/25.   AFRAID kicked off #9 to $3.7M ($4.5M for four days), per Comscore, at 3,003 theatres ($1,232). It reportedly cost $12M to produce. It's tracking for first choice below norm for all demos. Rotten Tomatoes critics hate it at 22% and audiences are very unhappy at 49%.   With nothing new to lure big audiences, this weekend's domestic marketplace totaled $80.8M, per Comscore Senior Media Analyst Paul Dergarabedian, down 12.7% from the prior weekend and down 12% vs. this time last year. Comscore's year to date tally has 2024 at $5.74B, down 14% from $6.69B in 2023. The previous weekend, 2024 was also down 14% vs. 2023.   Meanwhile, back at the multiplexes: Disney/Marvel's R rated DEADPOOL & WOLVERINE stayed #1 in weekend six with $15.2M (-17%) -- and $19.5M for four days -- at 3,630 theatres ($4,183), per Comscore. D&W, which reportedly cost $200M to produce, has now done $599.5M domestic and $1.26B worldwide.   Disney/20th Century Studios' R rated sci-fi thriller ALIEN: ROMULUS was second again in weekend three with $9.3M (-43%) at 3,120 theatres ($2,988) -- for four days. It's grossed $88.8M domestic and $283.5M worldwide.   New indie distrib Showbiz Direct opened its political bio-drama REAGAN in fourth place to an encouraging $7.4M at 2,754 theatres ($2,687) and $9.2M for four days. It's tracking for first choice below norm for all demos. Rotten Tomatoes critics despise it at 19%, but audiences are cheering at 98%.   (See more at www.ZAMM.com)   #movies #boxoffice #martingrove  

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What does Disney have in common with my company, Acorn Entertainment Group? Well, at first it seems as though nothing. In fact, we have very little in common with the current Disney, if anything really. We want to have a companion television show for Jackalope Junction, that expands the story beyond the little valley the town is in, as well as games, books, comics, and movies. We want to someday create a better streaming platform, for our content as well as classic, wholesome shows, and content from folks like Imagination Bay Entertainment. And we have more original IP we're creating aside from Jackalope Junction for the future - and everything will be not just for kids, but something the whole family can enjoy without worry of seeing or hearing things that are not wholesome. Actually, what we have in common is with the old Disney, the one Walt built - where some content was taking classic stories and turning them into shows or movies, as well as creating all original IP, and not going, ever, with the "store bought" approach to getting IP (though if we could buy the rights to Herbie The Love Bug...). Think of it like those who make their own sourdough, vs. getting the store bought stuff full of things we can't even pronounce. Anyone can buy mass produced stuff. But not everyone can generate unique ideas - well, actually they can but choose not to. As you can imagine, this takes money. Lots of it. Those who choose to invest in Acorn Entertainment Group to bring Jackalope Junction to life are not just investing in our park and show, but in the creation of amazing future IP and entertainment that will uplift, edify, encourage, and comfort with wonderful wholesome stories. And it's going to take a special kind of investor - I don't want folks who just have money, as silly as that sounds, who want a huge chunk of the company and then can make demands or tell us what THEY want, or what we need to create to be "relevant". We need someone who truly believes in what we're trying to do - who believes in bringing back wholesome, sometimes biblical, values to family entertainment. I believe with my heart and soul that the families of this world need that. We need someone who is truly "invested" in this cause - not just business, but truly a cause to change the world for the better. And maybe I need to stop trying so hard to find the right investor but instead let God handle that part, as He's brought forth so many amazing folks and opened so many doors that I know I could not have. Finding money is both frustrating and heartbreaking - because I want this to happen NOW. We need it now. But I do have to trust in His timing and try my best not to be anxious. For all of you who have invested what you can - time, money, art, wisdom, you are an amazing group of people and I am truly THANKFUL for everything all of you have done. Now let's see who God brings with deep pockets and truly believes in this. https://lnkd.in/gcNG52fV

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“‘Only the songwriters suffer in this messed up, inequitable streaming licensing scheme,’ says Jody Dunitz, a former exec at Sony Music Publishing. Here’s her case for nixing the mechanical, sunsetting the MLC, and shifting the action to ASCAP, BMI, SESAC, and other PROs. This year has featured lots of handwringing about Spotify’s bundling antics and their impact on mechanical royalties. That revenue is taking a big hit.” “But don’t cry for the major publishers who oversee 70% of the revenue-earning songs in the United States. Their paychecks are secured by the label bosses whose streaming revenue hasn’t lessened one bit. Only the songwriters suffer in this messed up, inequitable streaming licensing scheme. Given the labels’ dominance of the negotiating hierarchy, song rights revenue can never top 20% of the finite streaming revenue pot. Subscriber rate hikes mean the pot gets bigger (which Spotify and the labels love), but the song share of the pot doesn’t change. Against that reality, direct licensing of mechanicals won’t fix anything. That’s simply a head fake fantasy promoted by the head of the National Music Publishers’ Association (NMPA), David Israelite. It runs contrary to all principles of copyright law. Further, the idea that hundreds of publishers would negotiate thousands of songs separately with each streaming service is ridiculous and would crash the whole streaming business. The NMPA knows it, and the labels know it. But there are actual practical fixes to this problem.” Read the article for more: #Steaming #Spotify #Songwriters #Royalties #MusicPublishing #NMPA #Artists #MusicRoyalties #MechanicalRoyalties #MLC #ASCAP #BMI #SESAC #PROs #Music #MusicBusiness #Musica #MusicIndustry #Musique #Musik #MusicBiz #Songs #Copyright #CopyrightLaw #Legal #DerechoDeAutor #DroitdAuteur #USA #MusicLicensing #RecordLabels

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As Productions Move Abroad, California Gears Up to Battle Film and TV Exodus – The Gloves Are Coming Off! California’s film and TV production game might be down, but it’s far from out! As productions flirt with international locations, the Golden State is ready to throw some heavyweight punches to keep the magic of Hollywood alive. With a powerful combination of tax credits, infrastructure investment, and a homegrown talent pool that’s second to none, California is suiting up to go toe-to-toe with global competitors. Sure, cheaper locations and irresistible international incentives have been stealing the spotlight. But here’s the plot twist: California isn’t just sitting on the sidelines. We’re rolling up our sleeves, ready to “rumble”. The goal? To remind the world that Hollywood is still the undisputed champion of content creation—no matter how far production tries to wander. The future of film in California? Bright, bold, and absolutely worth watching. https://lnkd.in/grDAwWZ3 Entertainment Partners California Film Commission FilmLA Motion Picture Association

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